Scan 189
The American history and encyclopedia of music, 1908
8 lines. Read by computer on 11 September 2026. No printed page number was found. See the scan on archive.org.
1and "Judas Maccabeus" endure. Handel's long residence in England made his influence more deeply felt in that country, perhaps, than in Germany, but nevertheless his work was the outcome of his predecessors in the fatherland, temporized by Italian influence and his own genius.
3To Franz Josef Haydn, an Austrian, music is indebted for the invention of the string quartet, the sonata form and the symphony. Such forms were made possible through the efforts of C. P. E. Bach, a son of the immortal John Sebastian, who abandoned the fugal and contrapuntal style of his father in favor of a more purely melodic style. His works form the connecting link between his father's austere school and the less severe one of Haydn and his followers.
5Following Haydn and resembling him, though more refined and with a broader conception of form, came Mozart. It is hard to place such a universal genius as belonging to any one school. He rather was the school. One might style his music German and be quite correct, while another might as truly classify it as Italian. Mozart alone essayed every form of musical composition and was successful in all. It was in the line of opera, however, that his influence was farthest reaching. He it was who brought the opera from mythology to real life, and from the Italian to the German language. His "Magic Flute" was the first of the great German operas. It is in the style of the "Singspiel" or "Song-Play," a form invented by Adam Hiller at a slightly earlier date. It completed the work of giving Germany its own opera; a work in which "The Marriage of Figaro" and "Don Giovanni" are preparatory but important steps.
7Ludwig van Beethoven was another of the mighty musical geniuses Germany has given to the world. He was the greatest in the handling of instrumental forms that his age or any other ever has seen. From piano sonatas to string quartets and symphonies, his creations all are masterpieces. He at first followed the style of Haydn, but later gave full rein to his genius. In boldness of harmonic progression, in development of theme, and in power of expression, he
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